The members of the Hayez-Ijak family organized this event, who are themselves contemporary art collectors. The event did show great sensibility towards displaying the work on show on the grounds, and looked professional, beautiful and perfectly organized. Any profit of any sales was destined to the foundation Sanaa Sasa, in collaboration with En Avant des Enfants, that works for orphans in Congo.
I was pleasantly impressed walking around the grounds, enjoying not only the carefully kept gardens and meadows,
but encountering high level of work.
Starting in the barn where indoor work was located
(works by Olivier LELOUP, Philippe BRODZKI and myself, sculptures and large format drawings),
the walk continued around the pond towards the chateau where several metal works were located (Philippe BRODZKI, Catherine FRANCOIS and Kinga et Anatoly STOLNIKOFF)
Leaving behind the chateau, there were a few small bronzes by Bernard HAUREZ in the ziggurat, and sitting perfectly in the smallest pond was a big piece by
Odeaubois.
By the edge of the pond, a devil like figure by Jean-Claude SAUDOYEZ
lead to an installation of several other figures.
Walking towards the green house, hanging from several trees, mushrooms
like structures by Elodie ANTOINE. In the glassless green house, there was an installation by Jean – Guy CLOSSET that celebrated
the importance of the chateau as a forge mill; a inconspicuous garden shed housed a rather surprising and refreshing installation by Dominique Ijak. 
Coming back towards the edge of the pond, a series of works by Marianne LEMAIRE and Florence FRESON, in blue stone favoured in Belgium, and slate, lead to metal pieces by Christina JÉKEY that hang from trees or were placed on the floor.
The walk continued towards the works by Rose-Marie WARZEE that emerged from the meadows, and took us to small to medium scale pieces by Jean MORETTE. After that, with the chateau across the pond, works by the late Nic JOOSEN were scattered on the largest area available. Which was more than appropriate given the monumental scale of these pieces, whose negatives space framed the landscape around them. 
The ‘tour’ as such, ended with bronzes by Félix ROULIN, a very popular Belgium artist who is very present in many squares around Belgium.
Overall, one could feel the sensibility that informed the placement of each one of the works included in this event. Or appreciate the efficiency of the organizers, and Jacques’ well-honed marketing skills behind all. I am certainly grateful and honoured to have been invited to participate.
As I am writing this, the very day of the closure, I don’t know how the Hayez-Ijak evaluate the experience, or if there are any planes to repeat the event somehow. Could we hope for a biennial?
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